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Let us begin at the beginning. ”13 Martin launched a new relationship of dance practice to criticism in 1927, a journalistic reviewing that was also to furnish the basis for the history and aesthetics of modern dance. He Who Summons performs a solo of skittering hops (many backwards), jumps accompanied with clapping of hands, and low hovering spins similar to those already executed by One Who Seeks. ”14 Rather, he distilled his reviews after the fact into books. Thanks to his extensive personal history of spectatorship, his aesthetic judgments and theories of dance history could claim an empirical basis.

22 In her essay, “The Legs of the Countess,” interpreting photos taken of the Countesse de Castiglione, Abigail Solomon-Godeau raises many of the issues discussed here and provides important evidence that corroborates the midnineteenth-century status of women in the arts. 23 A sudden surge within French publications of gossipy biographies that focused on dancers’ liaisons occurs in the 1830s and 1840s. 24 In his Petits mémoires de I’opéra, Charles de Boigne claims that Véron was a genius at publicity, repeatedly announcing that a production was close to its final performance (p.

First, Goux works to historicize the very conception of the phallus by considering its role in “primitive” societies and in their myths and rituals, then in nineteenth-century and early twentieth-century capitalist societies, 26 • SUSAN LEIGH FOSTER and now in a postcapitalist, postmodernist landscape. He argues that the phallus itself, our access to it, and its relation to modes of cultural production have changed distinctively in each of these periods. Second, he connects the identity of the phallus to the identity of capital, claiming for each an analogous degree of abstract functioning in relation to their respective economies of desire and material production.